Al Andaluz Project / Deus et diabolus - CD
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cd cover Al Andaluz Project
Deus et diabolus (Galileo)

The Spanish/Sephardic musicians of L'ham de Foc join Estampie, a German group known for its dedication to medieval music, in a recording made at the Dominican monastery of La Cartuja de Cazalla, near Sevilla and explore medieval Sephardic, Arabic, and Christian traditions.


  • 1 Morena (sefardí, trad.)
  • 2 A Virgen mui groriosa (Cantiga de Santa María)
  • 3 Nassam Alaina Lhawa (árabo-andalusí, trad.)
  • 4 Pandero (M. Aranda / E. López)
  • 5 De Santa María (Cantiga de Santa María, 13th century)
  • 6 Chamsse Lachia (nuba kudam al-maya)
  • 7 La galana y el mar (sefardí, trad.)
  • 8 Gran dereit (Cantiga de Santa María)
  • 9 Atiny naya - Solo Iman (árabo-andalusí, trad.)
  • 10 Lluna (instr., E. López)
  • 11 Arracha Lfatan (nuba garnati)
  • 12 Las suegras de ahora (sefardí, trad.)
From the RootsWorld review:
"The Al Andaluz Project unites L'Ham de Foc with Estampie, the Munich group led by Michael Popp, better known for its dedication to medieval music. Beginning with informal collaboration based on mutual interest in older repertoires, the ensembles first shared the stage at the July 2006 Landshut Hofmusiktage festival, a performance recorded and broadcast live by Bavarian state radio. As heard on Deus et Diabolus, they followed with a November 2006 studio session at the Dominican monastery of La Cartuja de Cazalla, near Sevilla. In the spirit of Moorish Iberia, three superb female singers interpret medieval Sephardic, Arabic, and Christian traditions: Sigrid Hausen (who also plays flute), L'Ham de Foc's Mara Aranda, and Iman al Kandoussi, singing variously in Ladino, Spanish, and Arabic. Estampie's Popp (ud, saz, violin, production), Ernst Schwindl (hurdy gurdy, nyckelharpa), and Sascha Gotowtshikow (percussion) join L'Ham's Efrén López (ud, saz, rabab, hurdy gurdy, production), Aziz Samsaoui (quanun), and Diego López (percussion). Contrast the lively drone and glorious vocal harmonies of the Christian song "A virgen mui groriosa" (one of three songs dedicated to Santa María) with the driving call-and-response of Arabic-Andalusian songs like "Nassam alaina lhawa" for a sense of this recording's enchanting range. Notes are in Spanish, German, and English." - Michael Stone

More info:
History of the Al Andaluz Project

The realization of that special idea is the history of the encounter of two music formations. Michael Popp, musical director of the group Estampie, well-known in the medieval music-scene for their innovation and quality, has never ceased to criticize publicly insubstantial academical parading of supposedly authentic performance or medieval ballyhoo and commerce. After one Estampie concert a visitor presented Michael with a recording and said: "This will probably find favour in your critical ears...". It was a record of the band L´Ham de Foc from Valencia (Spain) who have put a name on the map of world music with their typical mixture of mediterranean, oriental and medieval music. With a smaller by-project focussing on sephardic music, Amán Amán, the band was to guest just a few weeks later in Munich, Estampie´s homebase. Enthusiastic about the record, Michael Popp took the chance and proposed a mutual project to the Spanish musicians. It didn´t take long to find out that they were birds of a feather, like-minded in musical as well as in human views, and the project made quick progress during several visits to Valencia and Munich.

During these highly productive and inspiring encounters, musical experience was exchanged and absolutely new ideas came up. The result of this co-operation, the „Al-Andaluz-Project“, was first released at 15. July 2006 on the occasion of the Landshuter Hofmusiktage. The live recording was broadcast by the Bayerischer Rundfunk. The by now available album was recorded in November 2006 at the medieval Dominican Monastery La Cartuja near Seville.

The encounter of the three „leading“ cultures of the Middle-Ages – muslim, jewish and christian – a topic as fascinating and controversal as ever - is reflected in the Al-Andaluz-Project by the origin of the involved musicians. Just recently violent-prone fundamentalist movements, whether religious or not, have taken centre stage of public debate. Unfortunately, the necessary basic knowledge of the matter is often fragmentary, this being due to a general ignorance of the historical context. And this in view of the incredible abundance of musical literature. In some regions this music has never ceased to be living tradition until today. Especially in the realm of music, the peaceful co-existence of the three great cultures lasted for centuries – a shining example for a mutually enriching and inspiring social life.

Al Andaluz

Al Andaluz (or Al-Ándalus) is the name chosen by the Ummayad conquerors for the Iberian Peninsula. Moorish-governed Spain was not only famous for its tolerance and scholarship, but for prosperity, trade and flourishing arts as well. For many centuries, people with different religions - muslim, jewish and christian - lived together in peace and inspired each other. Philosophers, poets, artists and musicians were most welcome at the courts of occidental rulers like Alfonso X. "the Wise" of Castile, and made their artistic contribution to a unique merging of cultures.

Regardless of their religious denomination people were striving for philosophical, scientific and religious truths. Instead of being a problem, diversity and variety were highly appreciated. The Caliphate Córdoba featured nine hundred public baths (hamams), thousands of mosques, running water and well-lit streets. By the 11th century, Toledo had become the intellectual capital of Europe, a christian city where Arabic continued to be the language of culture and scholarship. It was via Toledo, with its schools of translation and its famous libraries, that the rest of Europe could gain access to the ancient writings. Closer studies of that age leave the impression, that the Middle Ages in Al Andaluz were anything but dark in many ways. Quite the contrary: never again has been achieved an equally unique religious and cultural merging.

The Al Andaluz Project, in special line-up, wants to revive these special aspects of Al Andaluz for our today`s world. In dialogue with the old songs, with different linguistic and musical cultures, a new musical entity can come to life, a vision of tolerance, as the andalusian poet Ibn al-Arabi wrote in a poem:

My heart has been adopting manyfold appearances
It is the monastery for Christian monks
or the temple for idols
or the Ka´aba for the circle of pilgrims
or the tablets for the Tora
or the pages for the Koran
But wherever the caravan may bend its steps
Love is my religion.

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